The Iphis Incident: Ovid's Accidental Discovery of Gender Dysphoria
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The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
Transantiquity
TransAntiquity TransAntiquity explores transgender practices, in particular cross-dressing, and their literary and figurative representations in antiquity. It offers a ground-breaking study of cross-dressing, both the social practice and its conceptualization, and its interaction with normative prescriptions on gender and sexuality in the ancient Mediterranean world. Special attention is paid to the reactions of the societies of the time, the impact transgender practices had on individuals’ symbolic and social capital, as well as the reactions of institutionalized power and the juridical systems. The variety of subjects and approaches demonstrates just how complex and widespread “transgender dynamics” were in antiquity. Domitilla Campanile (PhD 1992) is Associate Professor of Roman History at the University of Pisa, Italy. Filippo Carlà-Uhink is Lecturer in Classics and Ancient History at the University of Exeter, UK. After studying in Turin and Udine, he worked as a lecturer at the University of Heidelberg, Germany, and as Assistant Professor for Cultural History of Antiquity at the University of Mainz, Germany. Margherita Facella is Associate Professor of Greek History at the University of Pisa, Italy. She was Visiting Associate Professor at Northwestern University, USA, and a Research Fellow of the Alexander von Humboldt Foundation at the University of Münster, Germany. Routledge monographs in classical studies Menander in Contexts Athens Transformed, 404–262 BC Edited by Alan H. Sommerstein From popular sovereignty to the dominion -
Ovid Book 12.30110457.Pdf
METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX. -
False Forms and Wicked Women: Apuleius' Isis Book and Ovid's Iphis
FALSE FORMS AND WICKED WOMEN: APULEIUS’ ISIS BOOK AND OVID’S IPHIS STORY Sarah H. Eisenlohr A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James Rives Sharon James Emily Baragwanath ©2019 Sarah H. Eisenlohr ALL RIGHTS RESERVED ii ABSTRACT Sarah H. Eisenlohr: False forms and wicked women: Apuleius’ Isis book and Ovid’s Iphis story (Under the direction of James Rives) In this thesis, I take a new approach to the study of Isis in Apuleius’ Golden Ass by comparing the novel to the story of Iphis written by Ovid in the Metamorphoses. I begin by reviewing the history of Isiac worship in the Roman world and previous research on Isis’ role in Apuleius. I then move on to a detailed study of literary allusions between the Golden Ass and Ovid’s Iphis story. From there, I explore the literary evidence concerning Isiac ethics and use my findings to analyze further the two texts at hand. I argue that both Apuleius and Ovid use Isis to mitigate the effects of dishonorable conduct in their narratives, especially that of a sexual nature. In each story, Isis ensures that her followers avoid behavior that disrupts communal and familial life, ultimately reinforcing traditional morality and social norms. iii TABLE OF CONTENTS INTRODUCTION………………………………………………………………………………...1 ISIS IN THE ROMAN WORLD………………………………………………………………….3 PLATONISM IN THE GOLDEN ASS……………………………………………………………5 ALLUSIONS TO THE METAMORPHOSES AND IPHIS IN THE GOLDEN ASS……………..8 SEXUALITY AND ISIAC ETHICS…………………………………………………………….22 CONCLUSION…………………………………………………………………………………..31 BIBLIOGRAPHY………………………………………………………………………………..33 iv INTRODUCTION This thesis aims to add a new dimension to the collective understanding of Isis’ role in Apuleius’ Golden Ass, as Lucius’ savior and as his patroness after his acceptance into her cult. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Death and the Female Body in Homer, Vergil, and Ovid
DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis. -
Ovidian Transversions Series Editors: Paul Yachnin and Bronwen Wilson
CONVERSIONS OVIDIAN TRANSVERSIONS OVIDIAN SERIES EDITORS: PAUL YACHNIN AND BRONWEN WILSON ‘A spectacular achievement. Harnessing the capacity of Ovid’s 1300–1650 AND IANTHE’, ‘IPHIS Iphis story to unsettle our categories of being and knowing, this book represents the very best in collaborative scholarship. It makes a truly transformational contribution to research on Ovid’s Metamorphoses, Ovidian reception, and the history and politics of embodiment, sexuality and gender.’ Robert Mills, University College London Focuses on transversions of Ovid’s ‘Iphis and Ianthe’ in both English and French literature Medieval and early modern authors engaged with Ovid’s tale of ‘Iphis and Ianthe’ in a number of surprising ways. From Christian translations to secular retellings on the seventeenth-century stage, Ovid’s story of a girl’s miraculous transformation into a boy sparked a diversity of responses in English and French from the fourteenth to the seventeenth centuries. In addition to analysing various translations and commentaries, the volume clusters essays around treatments of John Lyly’s Galatea (c.1585) and Issac de Benserade’s Iphis et Iante (1637). As a whole, the volume addresses gender and transgender, sexuality and gallantry, anatomy and alchemy, fable and history, youth and pedagogy, language and climate change. Badir and Peggy McCracken Patricia VALERIE TRAUB is author of Thinking Sex with the Early Moderns. Traub, Edited Valerie by PATRICIA BADIR is author of The Maudlin Impression: English Literary Images of Mary Magdalene, 1550–1700. PEGGY MCCRACKEN is author of In the Skin of a Beast: Sovereignty and Animality in Medieval France. OVIDIAN TRANSVERSIONS Cover image: Metamorphosis of Ovid; plaster statuette by Auguste Rodin; ca. -
Introduction
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION To underestimate, ignore and diminish space amounts to the overestimation of texts, written matter, and writing systems, along with the readable . to the point of assigning these a monopoly on intelligibility. —Henri Lefebvre, The Production of Space BASE THIS BOOK on the simple premise that space is a proper value of the theater, part and parcel of what it is and how it works. Until recently, Ithe function of space has gone relatively unnoticed in scholarship and criticism of our earliest drama. Now that the subject has emerged, it usually takes the form of a set of spatial binaries, reflecting the influence of struc- turalism. We confront a spatially discrete world, in which distinctions such as public-private, outside-inside, cultured-wild, center-margin are applied to the spaces of tragedy. Armed with this oppositional structure, critics argue (some with great subtlety) that tragedy supports traditional gender differen- tiations and patriarchy;1 that it exploits the basic polarities that myth seeks to mediate;2 that it plays into an “us” (Greek, Athenian, male) versus “them” (barbarian, metic/slave, female) scenario, which uses space to mark the “oth- erness” of the “Other”;3 that it instantiates a split between performance as social event and writing as private act;4 or—just the opposite—that tragedy’s dependence on writing provides a “spectographic division of narrative into exotopic speech positions.”5 Although such approaches can generate illu- minating readings of the plays and the culture that produced them, the ex- plicit dualism underlying the various interpretive schemes often leaves the complexity of space in Greek tragedy overlooked, or unexplored. -
One of the Best Ways of Thinking About the Genesis of John Lyly's
BIBLID [1699-3225 (2007) 11, 207-218] A NEW MYTHOLOGICAL PATTERN FOR JOHN LYLY’S GALLATHEA: ACHILLES ON SCYROS1 One of the best ways of thinking about the genesis of John Lyly’s Gallathea2 is not so much in terms of sources, but rather in terms of patterns, because, like many other works of the Elizabethan Age, the play has been composed in the light of a series of precedents in the dramatic repertoire of the period and a series of patterns in Lyly’s reading of the classics. Indeed, in the first line of his play Lyly alerts his audience to the intimate relationship between his story and classical precedents, opening his action with an obvious quotation from the first line of Virgil’s first eclogue and naming some of his characters – Melebeus, Tityrus and Gallathea – after those of the Roman poet. He thus marks it as, in general, a work of the pastoral imagination, but, as Hunter3 has remarked, he immediately turns the political story of the eclogue into a mythological fantasy, drawing on other classical patterns, sometimes explicitly mentioned: Hesione, Polyphemus, and Iphis and Ianthe, whose precedent serves to solve the love tangle at the centre of the play. The alternative between an “honourable death” and an “infamous life” which exists for Phillida and Galatea, and the decision taken by Melibeus and Tityrus to disguise their daughters as boys in order to preserve their lives, suggests that Lyly also used the Achilles pattern of classical mythology, a hypothesis that I will try to demonstrate in this paper. -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard. -
The Iliad of Homer by Homer
The Project Gutenberg EBook of The Iliad of Homer by Homer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Iliad of Homer Author: Homer Release Date: September 2006 [Ebook 6130] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE ILIAD OF HOMER*** The Iliad of Homer Translated by Alexander Pope, with notes by the Rev. Theodore Alois Buckley, M.A., F.S.A. and Flaxman's Designs. 1899 Contents INTRODUCTION. ix POPE'S PREFACE TO THE ILIAD OF HOMER . xlv BOOK I. .3 BOOK II. 41 BOOK III. 85 BOOK IV. 111 BOOK V. 137 BOOK VI. 181 BOOK VII. 209 BOOK VIII. 233 BOOK IX. 261 BOOK X. 295 BOOK XI. 319 BOOK XII. 355 BOOK XIII. 377 BOOK XIV. 415 BOOK XV. 441 BOOK XVI. 473 BOOK XVII. 513 BOOK XVIII. 545 BOOK XIX. 575 BOOK XX. 593 BOOK XXI. 615 BOOK XXII. 641 BOOK XXIII. 667 BOOK XXIV. 707 CONCLUDING NOTE. 747 Illustrations HOMER INVOKING THE MUSE. .6 MARS. 13 MINERVA REPRESSING THE FURY OF ACHILLES. 16 THE DEPARTURE OF BRISEIS FROM THE TENT OF ACHILLES. 23 THETIS CALLING BRIAREUS TO THE ASSISTANCE OF JUPITER. 27 THETIS ENTREATING JUPITER TO HONOUR ACHILLES. 32 VULCAN. 35 JUPITER. 38 THE APOTHEOSIS OF HOMER. 39 JUPITER SENDING THE EVIL DREAM TO AGAMEMNON. 43 NEPTUNE. 66 VENUS, DISGUISED, INVITING HELEN TO THE CHAMBER OF PARIS. -
Plants and Empire in Ovid's Metamorphoses
Duke University Nondum laurus erat: Plants and Empire in Ovid’s Metamorphoses A Senior Honors Thesis Submitted to the Faculty of the Department of Classical Studies in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts with Distinction Department of Classical Studies by S. Elizabeth Needham Durham, North Carolina April 2019 Copyright © 2019 by Sarah Elizabeth Needham All rights reserved ii cum in contemplatione naturae nihil possit videri supervacuum —Pliny the Elder, Naturalis Historia 11.4 iii Acknowledgements Foremost, I would like to express my sincere gratitude to my advisor, Professor Clare Woods, for her support and guidance, her enthusiasm for my project, and, above all, her patience as I made my way through this year. I could not imagine having a better advisor and mentor than her for this project. I am also grateful to Professor Mary T. Boatwright for her support of me these past four years. I would not be where I am today without her. Lastly, I would like to thank my friends and family for their continuous support and belief in me throughout this process. In particular, I am grateful for Evie Marecki, who was always a willing sounding board, and Jessica Bolin, my most stalwart proofreader. iv Contents Abstract vi Introduction 1 Chapter One. Botanical Imperialism 5 Chapter Two. Planting the Seed 18 Ovid’s New Age 18 Conquering Daphne 23 Conclusions 32 Chapter Three. The Imperial Garden 34 Nymphs Escaping Rape 35 Preserving Youths 38 Punishment 43 Anomalous Transformations 46 Conclusions 50 Chapter Four. The Hasta Romuli 53 Conclusion 66 Bibliography 69 v Abstract Plants held many types of power and meaning in the ancient world.